In the following interview, Polanski discusses his body of work, cinematic techniques, and the process of adapting Death and the Maiden from stage to screen.

In the following review, Crnkovic compares Death and the Maiden to other films in Polanski's oeuvre that explore the victimization of women, arguing that Death and the Maiden effectively places the spectator in the uncomfortable position of not knowing who is the victim and who is the aggressor.

In the following review, James lauds Polanski's effective cinematic adaptation of Death and the Maiden, commenting that the film's direction is subtle, restrained, and thoughtful.

In the following review of Death and the Maiden, Horne asserts that Polanski's film improves upon the stage play through powerful cinematic technique, heightened realism, and a tightened narrative structure.

In the following review, Pawelczak asserts that Death and the Maiden lacks the style, imagination, and emotional impact characteristic of Polanski's best films.

In the following review, Monahan argues that Polanski's interpretation of Death and the Maiden confuses sexual assault with sex and demonstrates Polanski's “bumbling understanding of sexual violence.”

In the following review, Rainer observes that Death and the Maiden is “an expert piece of claustrophobic cinema” but comments that the film is ultimately ineffective due to its overly schematic and self-important tone.

In the following review, Sterritt offers a generally positive assessment of Death and the Maiden, observing that Polanski's direction is “efficient” rather than “inspired.”